Chart Beat
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Eminem proves that Slim Shady is well and truly back as he clinches the U.K. No. 1 spot for the third week in a row with his latest album, The Death of Slim Shady (Coup de Grâce).
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The Detroit rap icon has once again proven his staying power with this 12th studio album, which marks his 11th No. 1 in the U.K.
Slim is still king of the hill, holding off a strong push from Taylor Swift, whose album The Tortured Poets Department leaps two spots to No. 2 on the Official U.K. Albums Chart.
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Meanwhile, Charli XCX is riding the wave of her BRAT summer. Her album BRAT, a 2024 Mercury Prize nominee, climbs three spots to land at No. 3. With a newly-released remix of “Guess” featuring Billie Eilish, Charli is making sure her summer anthem is on everyone’s playlist.
Chappell Roan is also having a moment with her debut album The Rise and Fall of a Midwest Princess. Rising three spots to No. 4, Chappell’s poised to make even bigger moves.
Billie Eilish, not one to be left in the dust, sees her album HIT ME HARD AND SOFT bounce back into the Top 5 at No. 5.
Meanwhile, Blur have delivered a nostalgic punch with Live at Wembley Stadium. Recorded over two nights in July 2023, this live album debuts at No. 6, becoming the week’s highest new entry and topping the Official Vinyl Albums Chart. It also marks Blur’s 14th Top 10 album. Live at Wembley Stadium was the leader at the midweek stage.
Sam Tompkins is making waves with his album hi, my name is insecure.—a fresh entry at No. 8 that also conquers the Official Record Store Chart and is the best-selling album of the week in independent U.K. record shops.
Over in the world of heavy metal, Swedish band Ghost hits a high note with their latest release, Rite Here Rite Now. Entering at No. 10, the album is the soundtrack to their concert film and adds another Top 10 achievement to their growing list of successes.
And there’s a blast from the past as The Police storm back into the Top 40 with their classic, final studio album Synchronicity. Thanks to a super deluxe reissue, it reclaims its spot at No. 30, a 40 years after its original release.
Benson Boone is also enjoying a resurgence, with his debut Fireworks & Rollerblades jumping 13 places to No. 31 after hitting the shelves on vinyl.
Rounding out this week’s chart action is Céline Dion, whose My Love – The Essential Collection vaults an impressive 32 spots to No. 36. Her performance of Édith Piaf’s “Hymne A L’Amour” at the 2024 Olympic Games in Paris marked her first in four years due to her battle with Stiff-Person Syndrome.
Sabrina Carpenter holds onto the U.K. No. 1 spot with her hit single “Please Please Please” for a fifth non-consecutive week.
Despite fierce competition from rising star Chappell Roan, Sabrina’s catchy country-pop track continues to captivate fans and dominate the Official Singles Chart.While Sabrina enjoys her chart-topping success, Chappell Roan is not far behind. Her infectious anthem “Good Luck, Babe!” has been steadily climbing the charts for an impressive 17 weeks, reaching a new peak at No. 2.
With momentum on her side, Chappell is a strong contender to challenge Sabrina for the No. 1 spot next week.
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That’s not all for Chappell Roan. Her previous hits are gaining traction as well, with “Red Wine Supernova” moving up to No. 38. Her 2023 debut album, The Rise and Fall of a Midwest Princess, is also climbing the Official Albums Chart, peaking at No. 4.Meanwhile, Luton-born singer-songwriter Myles Smith celebrates a new peak as his dreamy track “Stargazing” lands at No. 4. Joining him in the Top 5 is Dasha with her country hit “Austin,” which surges into the fifth spot after 23 weeks on the chart, and marks Dasha’s first time breaking into the Top 5.
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The trio Bl3SS, CamrinWatsin, and bbyclose have achieved a milestone as their collaboration “Kisses” cracks the Top 10 for the first time, climbing six spots to No. 7.As BRAT summer heats up, Charli XCX is having a moment with two tracks making impressive leaps on the charts. “360” is up six spots to No. 12, while the viral sensation “Apple” makes an even bigger splash, jumping nine places to No. 14. Charli is proving that she’s more than just a pop star—she’s a chart star with hits to spare.Irish singer and rapper Jordan Adetunji continues his upward climb as “KEHLANI” moves up two spots to No. 15.
Adam Port, Stryv, and Keinemusik make their debut in the Top 20 with “Move,” jumping seven places to No. 18.
Teddy Swims finds himself at a new peak with his emotional ballad “The Door” landing at No. 24. Meanwhile, Post Malone and Luke Combs make a strong entry with “Guy For That” debuting at No. 26, blending their unique styles into a chart-worthy hit.In a welcome nostalgic twist, *NSYNC’s timeless classic “Bye Bye Bye” returns to the U.K. Top 40 for the first time in 24 years, thanks to its placement in the Marvel blockbuster Deadpool & Wolverine. Originally peaking at No. 3 in 2000, the track now sits comfortably at No. 30.
Central Cee also makes waves with his new hit “gen z luv” debuting at No. 34. Bruce Springsteen’s iconic “Dancing In The Dark” finds a new peak in 2024, landing at No. 35. At the same time, Calvin Harris and Ellie Goulding’s latest collaboration “Free” debuts at No. 36.The collaboration between Majestic, Jammin’ Kid, and Céline Dion achieves a new peak with “Set My Heart On Fire” reaching No. 39. The track, which samples Céline’s 2000 hit “I’m Alive,” has gained traction following her emotional live performance at the 2024 Olympic Games opening ceremony in Paris. It marked Céline’s first performance since being diagnosed with stiff person syndrome (SPS) in 2022.
Stay tuned to see who will claim the top spot next week and what surprises the charts have in store.
Taylor Swift’s The Tortured Poets Department returns to No. 1 on the Billboard 200 chart (dated Aug. 10), collecting a 13th nonconsecutive week atop the list. The album spent its first 12 weeks on the chart at No. 1, fell to No. 4 for two weeks, and now rebounds to No. 1 for a 13th frame. (Thirteen is also famously Swift’s lucky number.)
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Tortured Poets earned 71,000 equivalent album units in the U.S. in the week ending Aug. 1 (down 3%), according to Luminate. That marks the smallest weekly sum for a No. 1 album since March 16-dated chart, when Morgan Wallen’s One Thing at a Time was tops with 68,000 units.
The last album to spend at least 13 weeks at No. 1 was One Thing at a Time, which logged 19 total nonconsecutive weeks at No. 1 between March 2023 and this March. The last album by a woman to spend at least 13 total weeks at No. 1 was Adele’s 21, which earned 24 nonconsecutive weeks on top in 2011-12.
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With Poets — Swift’s longest-leading album — she adds her 82nd career week at No. 1 on the Billboard 200, extending her record among soloists. (Elvis Presley has the second-most among soloists, with 67.) The total encompasses her 14 No. 1 albums. (She’s tied with Jay-Z for the most No. 1s among soloists.)
Also on the latest Billboard 200, the sleepy top 10, where no albums debut in the region, sees Chappell Roan’s The Rise and Fall of a Midwest Princess hit a new peak, as it climbs 8-4, surpassing its previous high of No. 5.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Aug. 10, 2024-dated chart will be posted in full on Billboard‘s website on Aug. 6. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s 71,000 units earned in the week ending Aug. 1, SEA units comprise 59,000 (down 8%, equaling 77.73 million on-demand official streams of the deluxe album’s 31 songs), album sales comprise 12,000 (up 34%, aided by a stock replenishment of a deluxe CD edition of the album in Swift’s webstore) and TEA units comprise a negligible sum (down 23%).
Wallen’s One Thing at a Time rises 6-2 with 64,000 equivalent album units earned (down 1%, also returning to No. 1 on Top Streaming Albums for the first time since March) and Zach Bryan’s The Great American Bar Scene climbs 5-3 with 61,000 (down 14%).
Chappell Roan’s The Rise and Fall of a Midwest Princess reaches a new peak, jumping 8-4 with 53,000 equivalent album units (though down 1%). The set previously topped out at No. 5 on the July 13-dated list. Billie Eilish’s Hit Me Hard and Soft ascends 9-5 with nearly 53,000 units (down 2%) and Stray Kids’ ATE falls 1-6 in its second week with 52,000 units (down 78%; it’s also No. 1 on Top Album Sales for a second week).
Eminem’s chart-topping The Death of Slim Shady (Coup de Grâce) dips 3-7 with 49,000 equivalent album units earned (down 37%), Twisters: The Album falls 7-8 with 44,000 units (down 23%), Charli XCX’s Brat returns to the top 10, rising 14-9 with 40,000 units (up 10%), and Noah Kahan’s Stick Season is steady at No. 10 with 39,000 units (down 10%).
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Chase Matthew reaches the top 10 of Billboard’s Country Airplay chart as his rookie single, “Love You Again,” rises a spot to No. 10 on the Aug. 10-dated survey. During the July 26-Aug. 1 tracking week, the track increased by 3% to 16.3 million audience impressions, according to Luminate. Explore Explore See latest videos, charts […]
Pearl Jam notches its first No. 1 on Billboard’s Adult Alternative Airplay chart in over 10 years as “Wreckage” rises to the top of the Aug. 10-dated survey.
“Wreckage,” Pearl Jam’s third leader on the list, follows “Sirens,” which ruled for three weeks in November-December 2013. The band first led with “Just Breathe” for 13 weeks in 2010.
The group’s 10-year, eight-month break between No. 1s is the longest on Adult Alternative Airplay since John Mayer went 11 years and eight months between the reigns of “Who Says” in 2009 and “Last Train Home” in 2021.
In between “Sirens” and “Wreckage,” Pearl Jam charted four Adult Alternative Airplay entries, paced by the No. 2-peaking “Dance of the Clairvoyants” in 2020.
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“Wreckage” is the second single from Dark Matter, Pearl Jam’s 12th studio album. The title track hit No. 19 in March.
Concurrently, “Wreckage” ranks at No. 6, after reaching No. 2 in June, on Rock & Alternative Airplay, with 3.4 million audience impressions in the week ending Aug. 1, according to Luminate. It ruled Mainstream Rock Airplay for one week in July, having become the band’s fifth No. 1, and rose to No. 3 on Alternative Airplay.
By leading both Adult Alternative Airplay and Mainstream Rock Airplay, “Wreckage” becomes the first song to hit No. 1 on the lists, which span the sonic extremes of rock radio, since The Black Keys’ “Lo/Hi” in 2019.
On the most recently published multimetric Hot Hard Rock Songs chart (dated Aug. 3, reflecting data July 19-25), “Wreckage” placed at No. 6, following a week at No. 1 in May. In addition to its radio airplay, it drew 265,000 official U.S. streams.
Dark Matter debuted at No. 1 on the Top Rock & Alternative Albums chart dated May 4 and has earned 107,000 equivalent album units to date.
All charts dated Aug. 10 will update on Billboard.com on Tuesday, Aug. 6.
It’s a sweet moment for Lime Cordiale, as the Australian indie-rock outfit debuts at No. 1 on the ARIA Chart with Enough Of The Sweet Talk (via Chugg Music/MGM).
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It’s the second leader for Lime Cordiale, following their second and most recent studio album, 14 Steps To A Better You from 2020. Earlier releases include debut Permanent Vacation and the Cordi Elba EP, their collaboration with British actor and DJ Idris Elba.
Signed to legendary concert promoter Michael Chugg’s label Chugg Music, Lime Cordiale nabs a slice of chart history — and breaks a long drought for homegrown artists.
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Enough Of The Sweet Talk is the first Australian No. 1 this year on the ARIA Albums Chart, and it’s the first ever recipient of the Australian #1 Album Award, which are handed out from this week to the best-selling homegrown singles and albums, an accolade that salutes “outstanding examples of local success week-in, week-out,” says ARIA CEO Annabelle Herd.
The last Australian album to lead the national chart was Troye Sivan’s Something to Give Each Other from October 2023.
Also new to the albums chart top 10 is Empire Of The Sun with Ask That God (EMI), debuting at No. 10. It’s the electronic-pop act’s fourth album and fourth appearance in the top 10 after Walking On A Dream (No. 6 in 2008), Ice On The Dune (No. 3 in 2013) and Two Vines (No. 7 in 2016). Comprised of Luke Steele and Nick Littlemore, Empire of the Sun has collected eight ARIA Awards.
Meanwhile, Ghost scores a top 20 debut with Rite Here Rite Now (Concord/Universal), the companion to the Swedish rock band’s concert film of the same name. It’s new at No. 12.
Over on the ARIA Singles Chart, published Friday, Aug. 2, Shaboozey logs another week at No. 1 with “A Bar Song (Tipsy) (via Empire).
The highest new entry on the latest tally belongs to Post Malone and Luke Combs with their country tag-team “Guy For That” (Universal), new at No. 18. “Guy For That” is the third track lifted from Posty’s upcoming album F-1 Trillion, due out Aug. 16. The lead track from it, “I Had Some Help” with Morgan Wallen, logged one week at No. 1 in May, and currently lifts 4-3, one place behind Billie Eilish’s “Birds Of A Feather” (Interscope/Universal), holding at No. 2.
The inaugural Australian #1 Single Award goes to The Kid LAROI’s “Girls” (Columbia/Sony), which dips 18-25 on the all-genres ARIA Singles Chart.
Becky G and Oscar Maydon’s “Mercedes” accelerates to No. 1 on Billboard’s Regional Mexican Airplay chart (dated Aug. 3). The track marks Becky G’s second leader on the survey and Maydon’s his first on any U.S.-based tally. Explore Explore See latest videos, charts and news See latest videos, charts and news “Mercedes,” released April 11 […]
Clairo’s “Juna” leaps to No. 1 on the TikTok Billboard Top 50 chart in its second week on the survey, becoming Clairo’s first ruler via the Aug. 3-dated tally.
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The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity July 22-28. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
“Juna” was released July 12 alongside the premiere of Clairo’s third album Charm, earning significant gains since then thanks to its TikTok virality.
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The dominant trends using the song feature responses to the prompts “you make me wanna” or “you know me,” both building off portions of the tune’s lyrics.
“Juna” scores a 70% jump in official U.S. streams in the week ending July 25 to 3.4 million listens, according to Luminate. As a result, it debuts at No. 27 on Billboard’s Hot Rock & Alternative Songs survey dated Aug. 3.
The song reigns on the TikTok Billboard Top 50 over Blood Orange’s “Champagne Coast,” which falls to No. 2 after ruling for a week. Another former leader, 10-week No. 1 Tommy Richman’s “Million Dollar Baby,” drops 2-3, the song’s first time below No. 2 since its debut in May.
One other song joins “Juna” in the top five for the first time: Charli XCX’s “Apple,” which vaults 10-4 in its third week on the chart. Featured on the singer’s album Brat, it has leapt up multiple charts in recent weeks via a TikTok dance trend, one that concurrently helps it to a new peak of No. 4 on Hot Dance/Electronic Songs (5.9 million streams, up 40%).
A more recent viral upload using “Apple” and its dance came from Kerry Washington, whose video featuring the caption “If Kamala is BRAT, I’m BRAT,” referencing U.S. Vice President Kamala Harris’ hopeful presidential candidacy and its adoption of the Brat motif. To date, the clip boasts 4 million views.
Further down the TikTok Billboard Top 50, the top debut of the week comes from Croquet Club, whose “Summer” starts at No. 23. “Summer” was released in 2016 and has enjoyed a boost in profile with usages in recent sports content on TikTok, including footage from the 2024 Summer Olympics.
See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
Submit questions about Billboard charts, as well as general music musings, to askbb@billboard.com. Please include your first and last name, as well as your city, state and country, if outside the United States. Or, message @gthot20.
Let’s open the latest mailbag.
Hi Gary,
With Jimin debuting at No. 14 on the Billboard Hot 100 (dated Aug. 3) with “Who,” I immediately thought of two “who”-titled hits that have peaked at that position: “Who Are You” by none other than The Who and “Who Is It” by Michael Jackson.
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I didn’t know at the time of its release that The Who’s mesmerizing hit didn’t make the Hot 100’s top 10, but the recording always caught my attention, both for its musicality and the cursing that was allowed. For Jackson, his Dangerous album, from which “Who Is It” was released as a single, followed Bad and Thriller. The sets produced four, six and seven top 10s, respectively, with each generating seven top 40 hits.
I figured I’d ask Billboard – who else? – for a list of other charted songs starting with “who.”
(Should we count anything by Owl City?)
Pablo Nelson, that’s whoOakland, Calif.
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Hi Pablo,
This “Ask Billboard” answers the question of who’s had all the biggest Hot 100 hits whose titles start with “who,” with Jimin’s “Who” joining 50 others that have reached the top 40. Conversely, it does the opposite of what any good mailbag should do, as it’ll leave all of the titles unanswered. There’s simply no field in Billboard’s computerized chart archives to search for who let the dogs out, who that girl is, who it can be now, who is in the strawberry patch with Sally or who your daddy is. (There are other ways to find out that last one, if needed.)
Below is a look at all the top 40-peaking Hot 100 entries whose titles begin with “who,” making for a true who’s who of “who” hits, including one by, as noted, The Who (although not any by The Guess Who).
Upon its debut, Jimin’s “Who” is in the company of numerous memorable similarly titled hits.
Top 40-Peaking Hot 100 Hits Whose Titles Begin With ‘Who’
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No. 1, 1987, “Who’s That Girl,” MadonnaThe title cut to the Madonna-starring film became the sixth of her 12 career Hot 100 No. 1s.
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No. 1, 1982, “Who Can It Be Now?,” Men at WorkThe only other Hot 100 leader whose title starts with “who” introduced Men at Work, which landed its second No. 1 with follow-up and fellow ‘80s classic “Down Under.” “It doesn’t really happen, to hardly anybody,” Colin Hay, who fronted the band, told Billboard in 2023 of its breakthrough. “It was massive. Having said that, we were always very ambitious.”
No. 3, 1986, “Who’s Johnny,” El DeBargeNo. 3, 1975, “Who Loves You,” The 4 Seasons
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No. 4, 1981, “Who’s Crying Now,” JourneyThe song ranks as Journey’s second-highest-charting Hot 100 hit, outpaced only by “Open Arms,” which peaked at No. 2 for six weeks in 1982.
No. 5, 1999, “Who Dat,” JT Money feat. SoleNo. 5, 1968, “Who’s Making Love,” Johnnie TaylorNo. 6, 1985, “Who’s Holding Donna Now,” DebargeNo. 7, 1987, “Who Will You Run To,” Heart
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No. 7, 1985, “Who’s Zoomin’ Who,” Aretha FranklinThe Queen of Soul added her 16th Hot 100 top 10 with the track. She earned one more, and her second No. 1 – after “Respect,” in 1967 – with “I Knew You Were Waiting (For Me),” with George Michael, in 1987.
No. 7, 1961, “Who Put the Bomp (In the Bomp, Bomp, Bomp),” Barry MannNo. 8, 1995, “Who Can I Run To,” Xscape
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No. 9, 2024, “Who’s Afraid of Little Old Me?,” Taylor SwiftWho has the most Hot 100 top 10s in a single week, and from a single album? Swift swept the region thanks to her 2022 LP Midnights and repeated the feat this May via The Tortured Poets Department.
No. 9, 2007, “Who Knew,” P!nkNo. 11, 1996, “Who Will Save Your Soul,” Jewel
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No. 14, 2024, “Who,” JiminThe song starts with 14.7 million official U.S. streams and 70,000 sold in its first week. Its proper promotion to pop radio is set to begin the week of Aug. 12.
No. 14, 1993, “Who Is It,” Michael JacksonNo. 14, 1978, “Who Are You,” The WhoNo. 15, 1989, “Who Do You Give Your Love To?,” Michael MoralesNo. 15, 1974, “Who Do You Think You Are,” Bo Donaldson and the HeywoodsNo. 16, 1987, “Who Found Who,” Jellybean feat. Elisa Fiorillo
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No. 16, 1984, “Who Wears These Shoes?,” Elton JohnJohn’s two earlier 1984 hits – “I Guess That’s Why They Call It the Blues” and “Sad Songs (Say So Much),” which rose to Nos. 4 and 5, respectively, on the Hot 100 – are likely better known, but this track gave him a third top 20 entry that year, the first in which he logged such a triple since 1976.
No. 17, 2021, “Who Want Smoke??,” Nardo Wick feat. G Herbo, Lil Durk & 21 SavageNo. 17, 2009, “Who Says,” John MayerNo. 17, 1996, “Who Do U Love,” Deborah CoxNo. 18, 1976, “Who’d She Coo?,” Ohio PlayersNo. 19, 1968, “Who Will Answer?,” Ed Ames
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No. 21, 2011, “Who Says,” Selena Gomez & The SceneWith her ninth charted song, Gomez scored her highest Hot 100 peak to that point. She has since collected nine top 10s, including the 2019 No. 1 “Lose You To Love Me.”
No. 21, 1984, “Who’s That Girl,” EurythmicsNo. 21, 1966, “Who Am I,” Petula ClarkNo. 22, 2002, “Who’s Your Daddy?,” Toby KeithNo. 22, 1977, “Whodunit,” Tavares
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No. 23, 2006, “Who Says You Can’t Go Home,” Bon JoviThe single, boosted by Jennifer Nettles’ guest turn, also brought Bon Jovi to No. 1 for two weeks on the Hot Country Songs chart.
No. 25, 1964, “Who Do You Love,” The SapphiresNo. 27, 1973, “Who’s in the Strawberry Patch With Sally,” Tony Orlando & DawnNo. 28, 2001, “Who I Am,” Jessica AndrewsNo. 29, 2011, “Who Dat Girl,” Flo Rida feat. AkonNo. 29, 1980, “Who’ll Be the Fool Tonight,” Larsen-Feiten BandNo. 30, 2003, “Who Wouldn’t Wanna Be Me,” Keith UrbanNo. 31, 1996, “Who You Are,” Pearl JamNo. 33, 1968, “Who Is Gonna Love Me?,” Dionne Warwick
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No. 33, 1964, “Who Can I Turn To (When Nobody Needs Me),” Tony BennettBennett charted six top 40 Hot 100 hits from the survey’s start in 1958 through 1965. In 2011, he returned with the No. 87-peaking “Body and Soul,” with Amy Winehouse.
No. 34, 1965, “Who’ll Be the Next in Line,” The KinksNo. 35, 1992, “Who’s Gonna Ride Your Wild Horses,” U2No. 37, 2005, “Who You’d Be Today,” Kenny ChesneyNo. 39, 1981, “Who’s Making Love,” Blues Brothers
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No. 40, 2000, “Who Let the Dogs Out,” Baha MenEnduring more impressively than its peak would suggest, the song has drawn 288 million on-demand U.S. streams to date, according to (who, who, who, who, who?) data tracker Luminate.
No. 40, 1998, “Who Am I,” Beenie ManNo. 40, 1981, “Who Do You Think You’re Foolin’,” Donna SummerNo. 40, 1975, “Who’s Sorry Now,” Marie OsmondNo. 40, 1975, “Who’s Your Baby?,” The Archies
This fall, Charli XCX & Troye Sivan Present: Sweat will bring the British and Australian pop stars to arenas across the U.S. and Canada. It’s the first time that either of them will headline North American arenas, but following their respective recent releases and subsequent solo shows – let alone the growing force behind the fall shows’ sales – they need not sweat it.
The tour, which kicks off Sept. 14 in Detroit and went on sale in April, has already sold out more than 90% of its tickets, according to Brian Greenbaum, Sivan’s agent at CAA.
Greenbaum says the tour dates in Boston, Chicago, New York and San Francisco sold out immediately, while high demand pushed a second show in Los Angeles. He notes that tickets across the tour were 67% sold after the first weekend of availability, and 70% by the end of May.
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The Sweat announcement and on-sale were planted after Sivan’s latest album cycle (for the October 2023 release of Something to Give Each Other) had mainly run its course, but before Charli’s Brat rollout kicked into high gear (June 7 release date). That off-cycle and on-cycle rollout was by design, giving ample time to sell arena tickets by artists who were not historically arena acts.
But even with strong opening sales, the team behind Sweat knew they’d get “a second bite at the apple,” said Greenbaum. Since the on-sale, Sivan made his arena debut abroad, and Charli executed an entire album campaign. Rather than the typical drop-off, momentum has carried Sweat through the (Brat) summer, with Greenbaum noting that North American sales rose to 80% by mid-June and beyond 90% by the end of July.
Sivan’s third studio LP, Something to Give Each Other, earned him his first two Grammy nominations and became his first album to land multiple songs on the Billboard Hot 100.
That success set up the European leg of the Something to Give Each Other Tour, leveling him up to arenas in Europe on his own before coming Stateside with Charli. According to figures reported to Billboard Boxscore, he played 15 shows across the continent in May and June, grossing $5.7 million from 108,000 tickets sold, averaging $379,000 and 7,227 tickets per show.
Those figures mark a 225% increase over Sivan’s last European jaunt. In Amsterdam, he went from selling 6,000 tickets at AFAS Live on The Bloom Tour in 2019, to 13,500 at the Ziggo Dome in June. In Berlin, he leapt from 3,333 tickets at Tempodrom to 8,884 tickets at Velodrom. In London, his audience ballooned from 5,133 tickets at Eventim Apollo to 11,254 at OVO Arena Wembley.
In the eight European markets where Sivan returned, attendance grew by no less than double, and earnings multiplied by at least three. Assuming similar growth in the U.S., where he played more shows and commanded bigger grosses on The Bloom Tour, he is well set up for arenas in North America, especially teamed up with a similarly buzzy pop star.
In June, Charli XCX played a string of club and festival dates in North and South America. In contrast to Sivan’s international arena tour, she chose to tease their fall tour with underplays that lived in the more intimate, visceral world of Brat. Her handful of headline shows sold out, ranging from 850 tickets in Sao Paulo to 5,000 in Los Angeles.
The numbers on Charli’s live shows were intentionally smaller than Sivan’s, but the energy and word-of-mouth around them matched the intensity of the album. Not only did it debut to career-peak commercial returns (No. 3 on the Billboard 200) and universal acclaim, it has penetrated the cultural consciousness. Amid a string of music videos, remixes and viral dance challenges, Brat has infiltrated the 2024 U.S. election cycle via a swirl of memes and momentum behind Democratic presidential hopeful Kamala Harris (“kamala IS brat,” Charli virally tweeted last month).
It’s perfect timing, then, for Sivan and Charli to join forces on Sweat. In her own words, in Billboard’s July cover story, it finally made sense due to the dance-leaning nature of both of their albums – the first No. 1 for each of them on Top Dance/Electronic Albums. They’ve built toward arena status over their decade-plus careers, each building cult-pop success from one album to another.
Beginning her career with a smattering of hits with Iggy Azalea and Icona Pop and songwriting credits alongside Selena Gomez and Shawn Mendes, Charli continued to accrue acclaim for her solo projects, growing her base from 965 tickets per show on 2014’s Girl Power North America Tour, to 1,439 on 2019’s Charli Live Tour, and then to almost 4,000 tickets on 2022’s Crash the Live Tour. Sivan’s recent European leg grew his base two-to-one, while The Bloom Tour expanded his reach worldwide, with more than 60 shows on five continents.
With more than a month left before Sweat begins, sales are expected to creep closer toward a continental sell-out. Just this week, Brat track “360” jumped from No. 78 to No. 55 on the Hot 100, while “Apple” debuted, becoming the album’s third track to chart. A new remix looms, hinting at more gas in the tank in the remaining weeks before opening night.
Both Sivan and Charli will tour on their own again after Sweat wraps, with each artist playing hometown shows in Oceania and the U.K., respectively. By the end of the year, their combined ticket sales could approach 500,000 in 2024.